STUDIO AIR 2017, SEMESTER 1, MANUEL MUEHLBAUER CONNOR FORSYTH 762078
Table of Contents A.1.0. Design Futuring
B.2.0. Case Study 1.0
A.1.1. IwamotoScott Architecture, Voussoir Cloud.
B.2.1. Aoba-Tei, Hitoshi Abe, Sendai, Japan, 2005
A.1.2 Changi International Airport, SOM Architecture
B.2.2. Reverse Engineering
B.2.3. Exploration
A.2.0. Design Computation B.3.0. Case Study 2.0
A.2.1. Bionic Experimental Building
A.2.2. Metropol Parasol, Seville, 2010
A.3.0. Composition/Generation
A.3.1. La Sagrada Familia - Antoni Gaudi
A.3.2. Smithsonian Institution
B.3.1. Serpentine Pavilion, Bjarke Ingels, England 2016
B.3.2. Deconstruction and Reverse Engineering
B.4.0. Technique Development
B.4.1. Image Mapper
B.4.2. Development Summation
A.4. Conclusion A.5. Learning Outcomes B.5.0. Prototyping A.6. Appendix - Algorithmic Sketches B.6.0. Proposal Ceres Global Village Sources
B.6.1. Site Analysis - Global Village
B.1.0. Research Fields B.7.0. Reflection
B.1.1. Exploration of Patterning
B.1.2 Meander, Ancient Greek
B.1.3. Super Trees, Singapore.
B.8.0. Algorithmic Sketches
Introduction It is important as designers to take leadership and make a positive contribution to this earth. Therefore in my opinion, I am far greater impressed with architectural designs which compliment both man and the earth in healthy proportions. Design initiatives need to step into a realm which focuses on modesty and efficiency, rather than that which in their function is to be marvelled by potential connotations which express achievements of concurring the earth. This may have seemed to stretch off onto a tangent, but I believe a great benefit of Studio Air and computational design is the process of optimisation. The ability to optimise spaces to maximise their ability to cooperate with the natural environment. While we are very early on in the course I can already see signs of which relate to this philosophy I am passionate about.
Hi There. My name is Connor Forsyth and I am currently a third year Architecture student, undertaking the Bachelor of Environments at The University of Melbourne. My experience and love of design started from a young age. I credit my pursuit to study architecture from simple childhood pastimes; such as sketching, designing structures with Lego, as well as going out into the forest and building ‘huts’ from any foliage I could find. The experience of doing this asserted a great sense of adventure and independence which I still thrive on today. My design style and perspective is attuned to admire creations which harness elements that maximise both efficiency and performance, without becoming imposing in its nature. For example, I would much rather spend my time teaching the world how to live efficiently, with minimal possessions and be happy. Than to be fuelled by the consumerist environment that the western world has developed into. This relates to architecture in itself.
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Another strong passion of mine is music. My exploration and study into the physics of how music both physically and aurally also excites the design side of my brain. Mathematical connections such as the Golden Ratio is a proportion which appears within the natural world, is reflected in architectural design, yet proportionally in music theory, it also sounds good harmonically. Literally what sounds good, also looks good.
My history in computerisation is relatively proficient. I am familiar with the Adobe Creative Suite to an advanced level. However I am very new to the process of design computation through parametric design methods. Therefore, I am eager to dive deep into Rhino and Grasshopper
The realisation of this concept inspired me to incorporate the golden ratio into a wide array of my design works. Such as furniture design, set design, projection mapping, a place for secrets; a concept explored in studio Earth.
FIG.1: ‘A JOURNEY OF SECRETS’ - DESIGN STUDIO EARTH
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DESIGN FUTURING A.1.0.
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Discourse. It can be considered a strong belief that all culture, development and society has been a product of design and design practices. Society is both influenced by the environment around us, and in correlation, the environment is influenced by the human interaction and creation. Architecture through time has been determined from the social, political and technological ability of the period. Through the accelerated development of the 20th century; architects have been exposed to a plethora of contrasting design practices and design styles. The Future of design will largely be determined through the mentality and ethical moral of the designer and the world culture at large. Industrialisation sent the world through a major push to maximise production and conquer the earth plentiful environment. Tony Fry explores this concept in his book Design Futuring: Sustainability, Ethics and Politics. Late 20th century philosophy has influence a paradigm shift towards sustainability, regrowth and design for modesty. The method of computational design opens up new opportunity to maximise the efficient use of our resources. Educating humanity on the possibilities of design, with sustainability at the forefront of innovation.
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FIG.2: IWAMOTOSCOTT ARCHITECTURE, VOUSSOIR CLOUD INSTALLATION,
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FIG.3: ‘IWAMOTOSCOTT ARCHITECTURE, VOUSSOIR CLOUD INSTALLATION,
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A.1.1. IwamotoScott Architecture, Voussoir Cloud. The Voussoir Cloud is a prime demonstration of how computational form finding can generate structures with an emphases on ‘material performance and ‘processes over representation’. This, structural display of compression is an example of a digitally defined form finding method similar to that of the reverse handing method. All elements converge to the pillar points on the ground plane. The synergy of material all working in united compression conveys a sense of purpose to all parts of the structure. There is an overwhelming sense of organic quality in this structure. This is on account of the form finding method which harnesses the physics of gravity to generate the compressive geometry.
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FIG.4: CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT- SOM
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FIG.5: CHHATRAPATI SHIVAJI INTERNATIONAL AIRPORT- SOM
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A.1.2. Changi International Airport, SOM Architecture Parametricism is a big part of where the world is heading to today. Through innovative design mechanisms and practices parametrics are assisting the global environment in becoming more sustainable, more efficient and therefore greater economical yield. Coupled with airport design. Large scale transportation is a significant factor in what keeps our civilisation running. SOM Architecture is a leading firm which specialises in the development of these technologies which focus on innovation, sustainability and key eye for the human experience. In order for us to design for the future, we need to prioritise in what developments need to be made, and how we can use technology to make our environment more sustainable, more efficient and more effective.
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DESIGN COMPUTATION A.2.0.
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A.2. Design Computation
Designing with computational media is a phenomenon new to the 20th century. It is important to distinguish the difference between computation verses computerisation and what this means for architecture. The computer and mouse is the 20th centuries legacy method to allow architects a superior platform to communicate. However instead of translating the brain to paper, computation allows the architect to expand their creative capabilities through embedding computation within the design process. Computerisation is the translation of architects thoughts to a digital drafting table. The benefits of computerisation fall mainly towards the communicational side of the design process. Much the same as how the digital age has made for greater pathways and access to communication. The same has happened for design. Fabricators, contractors, architect and engineer all follow united design standards.
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A.2.1 Bionic Experimental Building Computation allows us to design and create structures not previously foreseeable without our current technological methods in the design process. The University of Stuttgart within their institute of construction and design developed a structure which showcases the possibilities of computation within the creative and construction process. This specific process explores the structural principles of an organic subject; the sea urchin platelet skeleton, and applies the principles noted from this, into a pavilion through computer based media in order to simulate and generate unique geometry. Construction of this pavilion is also only made possible through computer based construction production methods. A particular feature of this pavilion is its innovative approach in construction. The development is constructed purely from an array of 6.5mm thick Burch plywood. This allows for an extremely light weight building structure with a highly efficient use of the material.
FIG.6: INSTITUTE FOR COMPUTATIONAL DESIGN UNIVERSITY OF STUTTGART
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FIG.7: INSTITUTE FOR COMPUTATIONAL DESIGN UNIVERSITY OF STUTTGART
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FIG.8: JÃœRGEN MAYER H, METROPOL PARASOL, SEVILLE, 2010
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A.2.2. Metropol Parasol, Seville, 2010 The old quarter of Seville in Spain hosts a parametric structure on a site with a history connected to public habitation and exchange. The goal of the development was to enhance its role as a new contemporary urban centre. The structure is popularly referred as Las Setas de la Encarnación, or in translation; Incarnation’s Mushrooms, due to their structurally expressive natural form. This form is produced from intricate parametrics which identify two structural design techniques, honing in on deep decoration and subtle innovation. This holistic theory of design combined with the elements of natural, organic form are strong themes throughout the computational design movement. Years of change across the various movements in time such as the industrial era. Accumulate to the outcome of significant technological development and the advanced creative method of computation, has brought developments such as this, which bring us back to nature. Both in their structural form and visual prompted themes.
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COMPOSITION/ GENERATION A.3.0.
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A.3.0. Composition and Generation The process of parametricism has developed since its early conception. Traditional form finding methods such as the Reverse Hanging method are known first hand to be the culprit which accredit analogue parametricism to the likes of Atoni Gaudi. The evolution of the design process over the 20th century have seen major developments in the methods and media tools of creation. Computer aided design has not only increased the speed of the design making process, but also the quality and accuracy. Computer modelling allows architects to focus their energy on creation, rather than expending their time towards trialling and testing. Testing parametrics can now be a much faster process . Though computerisation, it is a simple process to optimise any built geometry so a set of defined parameters. Variations are a fundamental part of the design process. Finding and exploring the solutions allow for greater access to variation to be analysed in a quicker amount of time. While some mindsets towards computation follow the belief that generating geometry is not pure architecture, however it is vital that designers view from the perspective of development. The computer and mouse is the new design tool which will allow us to move forward into the future.
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FIG.9: LA SAGRADA FAMILIA
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A.3.1 La Sagrada Familia - Antoni Gaudi
Gaudi is a highly renowned architect of the late 19th century whom is known mainly for his expressive design work featured throughout the Catalan region of Spain. The Sagrada Familia showcases Gaudi’s famous form finding technique which is entitled the reverse hanging method. Pictured in Figure 10; we can see how Gaudi realised that tension elements hung upside down with a unique arrangement of weights is an accurate way of estimating compressive forces when orientated to the correct ground plane. While the process of Gaudi’s form finding method remains to be far more primitive than that of our modern day methods, the concept remains the same exactly as you would if you were to generate the geometry on computer aided software.
FIG.10: GAUDI’S FAMOUS REVERSE HANGING METHOD OF FORM FINDING.
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FIG.11: SMITHSONIAN INSTITUTE - WASHINGTON DC
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A.3.2 Smithsonian Institution Architects are continually exploring the capabilities of parametrics in design. Performance analytic are often undertaken to determine the performance of the material against the built form. Foster + Partners’ Specialist Modelling Group (SMG), generated the roof geometry of the Smithsonian Institute in Washington DC. The main parameters where set to optimise structural and acoustic performance. The brilliance of this architecture is the unique coupling of an incredibly modern creative technique up against the neo-classicism building of the original Smithsonian. These contrasting elements are appropriate as they reflect the purpose of the Smithsonian as a landmark of culture, past present and future.
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A.4 Conclusion Through the study of various example of computation in the architectural world. We can see how the innovations of parametrics are impacting the physical environment, and how this in turn; impacts the civilisation.
CONCLUSION A.4.
It is clear that design moral and design philosophy have made a monumental shift towards an environmental concern. In order for civilisation to continue developing, it is vital that as leaders in shaping the built environment, designers must have a united front in their approach to the future. Fabrication and computerisation have allowed for an increased number of field members to focus their energy on innovation rather than the construction process at large. Roles in firms are inevitably going to change, the ability to generate then fabricate is a phenomenon only gaining traction in the 21st century. Through analysing this development, my approach to the coming design scenarios is to follow function, and design with an intent on sustainability and efficiency. This inspiration is a from experiences that seek to enhance social and cultural environments. Fulfilment is not found from being enclosed, fulfilment is found from experiencing the world around us and learning from others.
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A.5 Learning Outcomes The learning content through the lectures and readings have given me a brief look into the world of computation. It is eye opening to view how architecture over time has morphed into this form of media. Algorithmic design is the our current phase in architectural development and it is one of the large contributes into the movement towards a more efficient, more environmentally stable future. As a designer, the connection between algorithms and nature are particularly inspiring. I admire the connection that we have gone through a highly industrial period of mankind and now, we have come full circle and are becoming mindful about humanities effects on the environment. Our difference now, is that our modern technologies give us greater knowledge, and greater efficiency at tackling various environmental issues.
LEARNING OUTCOMES A.5.
While algorithmic design may be a seem to be a foreign method of generating geometry, its benefits are clearly visible, and humanity will no doubt grow and develop immensely from its capabilities. As mentioned in the lectures, computation is architects new pencil, and it is essential for any architect to be able to communicate their ideas for the modern world of development.
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A.6. Appendix - Algorithmic Sketches My parametric exploration honed in on applying my basic knowledge of algorithms and generating geometry which I found inspiring and moving.
ALGORITHMIC SKETCHES A.6.
Progression was a regular theme in my exploration. Much of my process revolved around connecting various nodes and replacing parameters to see how the overall structure would react. The more and more I repeat the processes the greater fluency I feel while navigating through the grasshopper environment.
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Sources References: “Aviation + Transportation”, SOM, 2017 <http://www.som.com/expertise/markets/aviation__transportation> “Computerbasierte Planung Und Robotische Fertigung | STYLEPARK”, Stylepark, 2017 <https://www. stylepark.com/de/news/computerbasierte-planung-und-robotische-fertigung> [accessed 16 March 2017] “J. MAYER H. BUILDINGS METROPOL PARASOL”, Jmayerh.De, 2017 <http://www.jmayerh.de/19-0-metropol-parasol.html> Leach, N. (2009). “Digital Morphogenesis.” Architectural Design 79(1): 32-37. Menges, A. (2012). “Material Computation: Higher Integration in Morphogenetic Design.” Architectural Design 82(2): 14-21. Peters, B. (2013). “Computation Works: The Building of Algorithmic Thought.” Architectural Design 83(2): 8-15. Rappaport, N. (2010). “A Deeper Structural Theory.” Architectural Design 80(4): 122-129. Schumacher, P. (2016). “Parametricism 2.0: Gearing Up to Impact the Global Built Environment.” Architectural Design 86(2): 8-17. “Smithsonian Institution | Foster + Partners”, Fosterandpartners.Com, 2017 <http://www. fosterandpartners.com/projects/smithsonian-institution/> [accessed 18 March 2017]
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B
CRITERIA DESIGN
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B.1.1. RESEARCH FIELD
PATTERNING
Patterning in architecture has, throughout history always been a method of conveying intimate themes through architecture. “Pattern has always been the DNA of style.” Pattern as a style, detail or adornment, communicates the personality of a design, and the designs influence. Context plays a major role in determining the purpose ranging from religion, the geometries in play and how it will evoke the poetry of the building through the design’s complexity, expression, balance and creativity. The purpose of patterning has changed overtime however the uses and effects it has on a building continue to grow and expand through the capabilities of parametric. Parametrics have seen the return to pattern. 20th century modernists promoted a severe removal of all ornamentations features due to a strong vision of what architecture should be. Progressive society in the later 1900s saw new opportunities for pattern to take the stage. The new political stance and future technologies introduced new extensive forms of pattern with the capabilities of computation.
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Computation gives a great new purposefulness to pattern in architecture. Developments in optimization explores intricate natural patterns and their benefits in construction principles as well as the dynamics of the environmental features of the site. Detailed patterns articulate the motives of the site, it can form the geometries connection to nature or the organic world. In addition to conveying atmospheric value, today’s architectural agendas hosts a fuller intent over the concept of pattern. Unprecedented solutions to problems can be found through exploring the capability of pattern and applying it to performance-oriented design. Pattern transcends throughout all forms of architecture as a discourse. Similarly as it spreads across all of human creation. Man made pattern commonly reflects repetitive, recurring events and form. Natures canvas certainly projections natural pattens which are most certainly not repetitive. Therefore it is unjust for pattern as a discourse, to provide any formal definitive boundary of function.
Todayâ&#x20AC;&#x2122;s spatial design pattern morphologies are mainly digital/parametric or Postmodern reworkings of ancient patterns or new ones found or simulated with new and emerging visualization and design technologies. MARC GARCIA, ARCHITECTURAL DESIGN 2009
EXAMPLE OF THE IMAGE SAMPLER PATTERN TOOL IN GRASSHOPPER.
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B B.1.2. RESEARCH FIELD
MEANDER ANCIENT GREEK PATTERN The Meander or Meandros, is an iconic Greek Patterning style which traditionally is used for decorative purposes on building faces. Its elements host strong symmetry and uniformity on account of its interlocking nature. The shape is a repeated motif generated by a continuous line. A meander is found in nature through a sinuous watercourse or river. Meaning is curves back on itself in a meandering motion. It is also connected with the Cretan Labyrinth. Meander symbolizes unity, and the bond. Whether this be love, friendship or devotion. Seamless connection. The Meander represents a classical example of pattern in art and design. However it is still a common reoccurring motif even in todayâ&#x20AC;&#x2122;s design context. Its simplicity is a fine depiction of pattern through the ages. While todayâ&#x20AC;&#x2122;s distinction hosts patterns which are far more complex.
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From the beginning the meander was not only an ornament; it was a symbol, a metaphor for water. MARIKA GIMBUTAS - THE ORIGIN OF THE MEANDER, 2012
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B
B.1.3. RESEARCH FIELD
SUPER TREES MODERN PARAMETRIC PATTERN
Innovation in parametric design has encouraged new forms of patterns to arise which effect not only the experience of the architecture, but also have the ability to enhance the architectures function. The Supertrees of the ‘Gardens by the Bay’ are an example of how the benifits of computation have allowed designers to create form inspired by nature and biomimicary. The very goal behind the Gardens was to transform Singapore from a Garden City, to a City in a Garden. This includes raising the quality of life by enhancing greenery and flora in the city.
Taking inspiration from the form of the orchid, Grant Associates’ masterplan is a rich fusion of nature, technology and environmental management. GARDENS BY THE BAY / GRANT ASSOCIATES, ARCHDAILY 2012
The Gardens have become one of Singapores more sort after urban outdoor recreational space and it is among the cities most iconic national landscapes.
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B B.2.0. CASE STUDY 1.0
AOBA-TEI
HITOSHI ABE SENDAI, JAPAN, 2005
Atelier Hitoshi Abe is an international design practice from Sendai Japan. The group is commonly known through their innovative approaches to complex spatial and structural systems. The Aoba-Tei Restaurant is an example of parametrics reflecting the soft, tonal aspects of the natural environment. The abstract expressive textures on the faces on the walls are achieved through an image sampling process in grasshopper. 42
Not only has Dr. Hitoshi Abe won a plethora of international design awards; the Miyagi Stadium competition for example, but he is also a highly documented lecturer and publisher of architectural research into spatially complex and structurally innovative design. Atelier Hitoshi Abe is currently the professor and chair of the UCLA Department of Architecture and Urban Design.
We are at a really interesting point in architecture. We need to look for change and seek out the new horizon. HITOSHI ABE
2015
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B B.2.2. CASE STUDY 1.1
EXPLORATION
To achieve the desired image map technique, the grasshopper definition explores unrolling and remapping complex geometry. Hitoshi Abe uses this technique while mapping various provoking images which aim to inspire a certain experience within the restaurant.
For convenience, and to depict a clear representation of the uses of the image sampler, I will be sampling images in 2D then projecting onto various parametric surfaces in my exploration. For clear communication and to isolate the image samplers abilities, I explore my findings of the image sampler through various iterations. 44
GRASSHOPPER SEQUENCE 1. The first process when image sampling is to reference the surface you are to be mapping an image to. This does not need to be a flat surface however for ease of fabrication, particularly with laser cutting, it is better if the surface is flat. 2. Divide the surface. This divides a grid which make the resolution of the image.
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3. Project the (uv) of the surface into the image sampler. Ensure the image sampler is set to the settings which are appropriate for the task at hand.
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4. Through iterations and adjustments it is possible to generate highly complex, evocative imagery through the image mapper. The imagery on the left is an example of multiple images mapped to the one surface to create a layered effect. The resolutions of the two images are mapped differently which create a unique texture.
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B.2.3. CASE STUDY 1.1
EXPLORATION
Hitoshi Abeâ&#x20AC;&#x2122;s explorations were made to seek out the experience evoked when one was exploring the wilderness of a forest at night. Through the layering of various image maps of natural environments he achieve a mapped image such as this.
ITERATION OF DUAL IMAGES MAPPED TO SQUARES AND CIRCLES
SQUARE SIZE SCALED HIGHER
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ADAPTATION TO RESOLUTION OF SURFACE
SQUARE SIZE SCALED HIGHER
IMAGE LOWER SCALE. HIGHER RESOLUTION
SQUARE SIZE SCALED HIGHER
ITERATIONS
IMAGE OF CORRUGATED IRON MAPPED WITH IMAGE OF TREE
IMAGE MAPPED WITH SQUARES AND MULTIPLE CIRCULAR OUTPUTS
IMAGE OF CORRUGATED IRON MAPPED WITH IMAGE OF TREE - ADAPTATION RESOLUTION OF SURFACE
TREE MAPPED WITH MULTIPLE OUTPUT SHAPES
OUTPUT TO MULTIPLE CIRCLES AND HEXAGONS HIGHER RESOLUTION WITH SMALLER OUTPUT SURFACE.
RADIAL SHAPE MAPPED TO THE IMAGE SURFACE
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B.2.3. CASE STUDY 1.1
EXPLORATION 1
Evoking image of trees mapped with a combination of square and circle shapes.
RADIAL SHAPE MAPPED TO A VERY SMALL DEGREE
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BREP IMAGE REMAPPED WITH IMAGE MAPPER
IMAGE MAPPED TO OUTPUT CIRCLES
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1. Randomize seed of points within a restricted domain.
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2. Create delaunay mesh from the projected points. Deconstruct Mesh then deconstruct faces to then rebuild as a surface. 3. Divide surface then define resolution of the projected image. 4. Reparametise surface then connect the UV of the divided surface to an image mapper. Adjust the resolution and size of projected shape to acheieve desired effect. 5. Hide original shape to reveal the isolated projected image. This technique is usful when image mapping meshes. The mapped faces almost create a three dimensional tesselation illusion.
EXAMPLE OF MAPPED THREE DIMENSIONAL MESH USING THE ABOVE TECHNIQUE. 49
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B.3.0. CASE STUDY 2.0
SERPENTINE PAVILION
BJARKE INGELS
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LONDON, ENGLAND, 2005
This simple manipulation of the archetypal space-defining garden wall creates a presence in the Park that changes as you move around it and as you move through it. BJARKE INGLES - 2016
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B.3.1. CASE STUDY 2.0
SERPENTINE PAVILION
BJARKE INGELS
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LONDON, ENGLAND, 2016
The Serpentine Pavilion of 2016 was the design showcased by Bjarke Ingles Group. Ingles is a Danish architect whom is among one of the most well known parametric designers in the current era of architecture. The Pavilion is reflects an â&#x20AC;&#x2DC;unzipped wallâ&#x20AC;&#x2122; which transforms a relatively simple straight line into a complex form. Ingles refers to the building as being a structure which embodies united diverse themes. Such as a free form yet rigorous structure, with modular components yet it is still sculptural. One angle expresses the solid box form, the other reflexts the strong transprarency of the building.
The divided walls create a cave like canyon within the structure with immense natural light flowing in between the box structures. The site of the Serpentine Pavilion has become an international site for architectural exploration and experimentation. The great parametric architects of the 21st century have showcased innovative design here every year. Selection for the Serpentine site consistently credits architects whom push and extend the capabilities of design.
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B
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B.3.2. CASE STUDY 2.0
DECONSTRUCTION AND REVERSE ENGINEERING
Architects have to become designers of eco-systems. Not just designers of beautiful facades or beautiful sculptures, but systems of economy and ecology, where we channel the flow not only of people, but also the flow of resources through our cities and buildings. BJARKE INGLES - 2016
The pavilion itself is a highly buildable project as it consists of repeditive, modular elements which interlock between eachother. Construction can be errected within a number of days and all indervidual components are prefabricated and transported in a compact fashion. It is constructable and deconstructable. Modelling the Pavillion in Grasshopper includes referrencing a number of curves for the core geometry then lofting and creating a surface with them. Once this is done, it is a matter of projecting a rectangular grid along the plane of the surface.
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B.3.2. CASE STUDY 2.0
B
DECONSTRUCTION AND REVERSE ENGINEERING SERPENTINE PAVILION
GRASSHOPPER SEQUENCE
1 1. The reverse engineering of the Serpentine Pavilion is a relatively simple procedure when approximating the end geometry. To begin, two surfaces are lofted from several curves. It is possible to vary this geometry to augment the form to any desired appearance.
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2 2. The surfaces are then divided, then rectangular mesh is projected onto the surface. The size and increments of the boxes have the ability to change from this.
3 3. Though extensive shifting lists and culling, we can see the specific pattern start to form.
4 4. Once the combination of listings has been finalized, the geometry is extruded in relation to where the unique rectangle sits on the three dimensional surface. Therefore each individual surface is unique and holds its own extrusion value. Each units measurements are recorded individually then are sent for fabrication.
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B B.4.0. TECHNIQUE
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DEVELOPMENT ALGORITHMIC EXPRESSION + EXPLORATION
Parametric development is an important part of this design learning experience as it is developing the core fundamental building blocks which allow humans to communicate their design thinking through computation.
Pattern has the ability to emit emotion, which transcends into the greater environment. It is highly important that the sensations evoked from the generated pavilion structure are appropriate for the sites characteristics.
The movement towards parametric generative design is further influenced my overall design philosophy and augmented me to a point in which I believe through and thought that it is a necessity for designers to explore.
Merri Creek and the Ceres Environmental park are known for their modest, effective solutions for functional machines for agriculture and living. The entire site hosts a rustic, recycled, sustainable combination of form.
Patterns have been given a great chance to explore their potential through computation. Human error and inferior computing power within the human brain has been a set back in this design principle. Pattern has not developed in conjunction to architectural development.
To integrate and enhance the site, I aim to unite my pavilion with the precedent themes Ceres hosts.
Computation has brought a new light to pattern, computer generation allows for complex visual structures to be generated and fabricated with simple movements.
The Global Village is a locality which celebrates cultural diversity while educating the visitors of differences in living practices. This pavilion should be one which brings the nations together, host them and provide warmth.
The Ceres Community Environmental Parkâ&#x20AC;&#x2122;s Global Village is in need of a lightweight pavilion structure to be implemented into the area.
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B.4.0. TECHNIQUE
DEVELOPMENT
ALGORITHMIC EXPRESSION + EXPLORATION In developing my algorithmic technique, I sort out method which best create evocative patterns and form which I believe beset represent the desired experience I wish to reflect in the light weight performance pavilion. Inspiring case studies which utilise pattern while also focusing on the intimate connection with the site and the user. My algorithmic exploration will dive into tesselation techniques, made possible with the weaverbird plug in, as well as complex form finding techniques which generate an optimum pavilion like structure. In order to achieve a lofted pavilion like structure which utilises pattern. I am going to go into extensive exploration into panelisation techniques which will provide a framing like structure to the form. Shading methods I would love to form from natural fauna, but to further utilise pattern. I will endevour to incorperate the image sampler into my design.
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ITERATIONS
LOFTED GEOMETRY WITH WEAVERBIRD’S LOOP SUBDIVISION ITERATION 1
LOFTED GEOMETRY WITH WEAVERBIRD’S LOOP SUBDIVISION ITERATION 2
LOFTED GEOMETRY WITH WEAVERBIRD’S LOOP SUBDIVISION ITERATION 3
WEAVERBIRD INNER POLYGON SUBDIVISION
WEAVERBIRD INNER POLYGON SUBDIVISION DOUBLED
DOUBLED SUBDIVISION EXTRUDED AND MADE INTO A FRAME.
IMAGE OF RENDERED GEOMETRY TO THE LEFT
COMBINATION OF WEAVERBIRD MESHING SYSTEMS.
WEAVERBIRD MESH FROM LOFTED GEOMETRY.
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RENDERED GEOMETRY’S ITERATIONS OF WEAVERBIRD ‘S MESH PYRAMID EXTRUDED IN VARIOUS LENGTHS 63
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PIPE MESH The image below is achieved through meshing a plethora of lines which have been subjected to the pipe mesh tool. It is a simple way to create interesting geometry.
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MESH FRAMED AND EXTRUDED IN THE DIRECTION OF THE MESH WHICH CREATED THE FRAMING FOR THE PAVILION
FRAME DIVIDED INTO GREATER SEGMENTS
IMAGE MAPPED SURFACES CULLED IN AN IMAGE MAPPED SURFACES CULLED IN AN ITERATION#1 ITERATION#2
IMAGE MAPPED SURFACES CULLED IN AN IMAGE MAPPED SURFACES CULLED IN AN ITERATION#4 ITERATION#5
LOFTED SURFACE GEOMETRY PROVIDED FOR IMAGE MAPPING
IMAGE MAPPED SURFACES CULLED IN AN ITERATION#3
LOFTED GEOMETRY WITH WEAVERBIRDâ&#x20AC;&#x2122;S LOOP SUBDIVISION ITERATION 1
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B.4.1. TECHNIQUE - IMAGE MAPPER
DEVELOPMENT
ALGORITHMIC EXPRESSION + EXPLORATION
IMAGE MAPPER To achieve the desired experience I want to evoke, my time on the site led me to explore the various textures of note throughout the community park. One repetitive trend which echoed in my thoughts was that of the corrigated iron shelter structures scattered across the landscape. This displays natures errosion of the built form, yet it creates a rustic, seamless relationship between the built form and the natural landscape. I would be highly interested in creating this effect through the use of an image map of a surface.
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B B.4.2. DEVELOPMENT
SUMMATION
ALGORITHMIC EXPRESSION + EXPLORATION
Exploring algorithmic expressions have enlightened my outlook on parametricism. The power in generating vivid, expressive geometry with simple gestures introduces a form finding technique for a plethora of uses. Form becomes natural, yet the process in creating this form is highly unatural. It is an inspiring process. One thing that I have gained through this exploration is extensive new experience into parametric modelling. My skills and knowledge of the process has increased significantly after exploring the various techniques aquainted through algorithmic study.
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The new primitives are animate,
splines, nurbs, and subdividesâ&#x20AC;&#x201D; dynamic systems. PATRIK SCHUMACHER - 2010
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, dynamic, and interactive entitiesâ&#x20AC;&#x201D;
â&#x20AC;&#x201D;that act as building blocks for
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B.5.0. TECHNIQUE
PROTOTYPING PHYSICAL MODEL
A physical model is a set of objects which is generated from an array of materials which aim to approximate an aspect of the final proposed product. OTTO, 2001
Prototyping is an essential part of the process when it comes to parametric design. When design with computational methods, designs become near impossible to replicate with mere human production.
The level of detailed required for such algorithmic patterns can be approximated however the result will always be more precise when the chance for human error is still present. I focused my prototyping techniques into form finding methods and manual tesselation of a surface. My area of prototyping would be best suited to exploring the capabilities of a laser cutter as a big portion of my design is looking at image mapping a surface.
Unfortunately I was unable to move into computational prototyping with my proposal, however the design for my pavilion is a highly constructible structure therefore I have complete faith that it will indeed stand up and withhold stresses from natural elements.
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B.6.0. TECHNIQUE
PROPOSAL CERES - MERRI CREEK RESERVE
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B B.6.0. TECHNIQUE - PROPOSAL
GLOBAL VILLAGE CERES COMMUNITY ENVIRONMENTAL PARK
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AN ARTISTIC RENDERING OF PROPOSED DESIGN.
This proposal is my vision of what I believe to be an appropriate addition and implementation to the Global Village at the Ceres Community Environment Park. To completely implement this project, the design would need to undergo thorough fabrication workings. However the geometry itself is relatively feasible as a constructible computation architectural piece. The inspiration of my design comes from the site itself, its history and values. The evoked experience from the site sent notions of passion, stainability, harmony and modesty. The people of the Environment Park appreciate what is appropriate, not what is elaborate. A pavilion structure such as this fulfills its purpose to a high degree. This light weight shell unites itself with the natural landscape while utilizing sustainable materials. Various lofting techniques equip the structure with several different surfaces with various textures which reflect the various textures experienced around Merri Creek. The image mapped laser cut panels allow for light to shine through into the shaded pavilion. These images are mapped directly from the rustic corrugated iron surfaces scattered throughout the environment park.
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SITE ANALYSIS B B.6.1. CERES - GLOBAL VILLAGE INFORMATION SITE: LOCATION: ABOUT: BRIEF:
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Global Village, Ceres Community Environment Park Stewart Street and Roberts Street, Brunswick East, Victoria 3057 The Ceres Community Environment Park is a non for profit community and organization whom provide insight and exploration into natural living practices and sustainable development projects. Design a lightweight performance pavilion/shelter structure which utilizes parametric form.
SALAMAT DATANG Indonesian/Malaysian Term for welcome, this creates an inviting impression to not only people from other nations but also Westerners as the provoking imagery is expressed in a comforting way.
AMPHITHEATRE The amphitheatre is a place in which the organization hosts educational lectures for school groups and various visitors. It is common that diverse cultural practices is a discussion which is explored often.
It is clear that the Merri Creek Ceres Environmental complex is a community which host a strong passion for environmental sustainability and efficient practices in agriculture and human commodity practices.
This area is often used to showcase different agricultural practices from the various cultures in focus. There is an amphitheater in which presentations and congregations often take place.
The site host rich history and culture from not only native Australian history, but also cultures from across the globe.
An obvious enhancement to this space would be the ability to provide shelter while also contributing the intimate character of the area.
The site I have chosen in specific to develop is situated toward the North end of the development. The location is entitled the Global Village. It is called this as it hosts an array of dwellings which represent cultures from across the globe. 81
TECHNIQUE - PROPOSAL B B.6.0. CERES - GLOBAL VILLAGE CREATIVE PROCESS
I was immediately drawn to the organic, vernacular nature of the site. All the pathways looked as though they were formed purely by repeated compression on the earths surface. Many of the constructed works were engulfed by the nature around them.
My goal was to create form which unites the simplistic, modest nature of the environment of Ceres while harnessing the capabilities of parametric expression. Everything has been very well used, and very well loved.
The plethora of experiences evoked from the site lead me to begin sketching out my ideas and the themes I was planning to incorporate into my design. The Site was particularly rich in various visual textures whether it be the light cast from the native gum trees, the footprints left by various chickens around. The eroded iron roofings or rammed earth walls.
Harmony. Nature. Journey. Unity. Diversity. Multiformity. History. Community. Poetry. Continuity. Passion. Spirituality. OFTEN WHEN I VISIT A SIGHT, I LIKE TO WRITE DOWN A LIST OF WORDS, A LIST OF EMOTION WHICH I EXPERIENCE THROUGHOUT MY EXPLORATION OF THE SITE. HERE IS AN EXCERPT FROM MY DOCUMENTATION.
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ABORIGINAL GUNYAH
While I did not find a Gunyah at the Ceres Environmental Park, my experience there certainly inspired me to look back into Indigenous traditions of the Domus or Dwelling. The intimate connection to the land that the Ceres Environmental Park hosts, mirrors themes of which Indigenous tribes often were drawn towards.
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Initial inspiration was drawn from the vernacular indigen Australian hut the Gunyah. While this is a highly adapted found through computation - it echoes the tradition arch from the area.
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Initial inspiration was drawn from the vernacular indigenous Australian hut the Gunyah. While this is a highly adapted form found through computation - it echoes the tradition architecture from the area.
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B B.7.0. LEARNING OUTCOMES
REFLECTION 762078
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While many areas of my parametric exploration may be further in depth than others, I highly believe that the light weight pavilion structure proposed is one which would carry forward into the environment of the Ceres Community and Environmental Park and reflect the very motifs which we experience in our first visit to the site.
Unfortunately my prototyping ability was not tested in relation to the parametric process, however I have had experience in generating surface which were to be laser cut. Therefore in relation to the image mapper, there wasnâ&#x20AC;&#x2122;t a great deal of experience to gain from prototyping the image mapped surface.
Situating in the educational center of the Global Village, the Light weight performance pavilion seeks out to unite guests and residents. Inspired by the Indigenous dwelling, the Gunyah, the Performance pavilion aims to provide comfort, while being a neutral addition to the natural environment around it. The sheltering acts in varying effects, however it will often morph and adapt as the seasons change.
The geometry and structure itself would likely be prototyped using interlocking panels which would be fabricated individually then assembled as a frame.
My own computational development within part B centered around furthering my abilities with Grasshopper. While it has been a process of much struggle, it certainly has been a empowering experience, as I now know fundamental skills which allow me to enhance my own generative skills through basic algorithmic relationships.
In summation, Part B has inspired me to research more into the possibilities of computational design. Whether it be the core geometric compostion of a design, or used purely as an inspiration for other form, the algorithmic software certainly is a gateway into a whole new realm of possibility. Architects have been given a very powerful new generative tool which is an absolute essential communication method in human development.
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DETAILED DESIGN 93
INDIA MCKENZIE MERIJN BRAAM OLIVIA GOODLIFFE R OM A N A R A D U N KOV I C MARIAM NA JEEB H AG I A N D O KO CO N N O R F O R SY T H YA N J I AO
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C C .1 D E S I G N CO N C E P T 1.1.0 P R O P O S A L R E V I E W 1.1.1 E X T E R I O R COM P L E X I T I E S 1.1.2 C U LT U R A L E X P R E SS I O N 1.1.3 H A R M O N Y I N N AT U R E 1.2 F E E D B AC K F R OM C L I E N T 1.3 P R E C E D E N T S
P E E R P R E C E D E N T 1. 0
P E E R P R E C E D E N T 2. 0
1.4 S I T E A N A LYS I S 1.5 P E E R D I S C U SS I O N + CO N C E P T S 1.6 P R O P O S E D CO N C E P T
C .2 D E S I G N P R O C E SS 2.1.0 AG E N DA OF D E V E LO P M E N T 2.1.1 G E OM E T R Y + F O R M F I N D I N G 2.1.2 PAT T E R N I N G + I T E R AT I O N S 2.1.3 ST R U C T U R E + O P T I M I Z AT I O N 2.1.4 P R O TO T Y P I N G + M AT E R I A L T E ST I N G 2.2 O R GA N I C A R C H I T E C T U R E C .3 F I N A L D E S I G N - B A J E E R A N G
FINAL MODEL AND PROPOSAL
C .4 L E A R N I N G O U TCOM E S
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C.1.1.0 PROPOSAL REVIEW
C REVIEW OF CHARACTERISTICS DESIGN CONCEPT
REVIEW
In review of the proposed design project, I have analyzed and interpreted several elements of note which I believe to be of importance from my Pavilion. In order to provide gravitas to the given design task I wish to incorporate these elements forward into our future group project. The strongest elements in my proposal were identifying the values of Ceres and reflecting that in the architecture. Therefore these are areas in which I will be developing once more and implementing them into the collaborative design proposal for part C. As I will predominantly be working on pattern, I can voice my aspects towards the entire design process. Therefore throughout the structure, and overall geometry, the Pavilion will include aspects of my algorithmic repertoire.
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Exterior Complexities My pavilion structure hosted aspects which were influenced by the textural qualities of the surrounding environment and its connection to the site. The desire to express this was noted from the united qualities my senses absorbed while roaming the site and visualizing images.
Ceres is a place which celebrates and welcomes diversity. It values education and sustainable development. These are all forward thinking values which I think we should focus on reflecting.
Cultural Expression and Integration
Harmony with Nature
Cultural exploration, expression and education is a huge part of the Ceres Environmental Park experience. The potential to integrate cultural experience and practices into the future pavilion is a certain must have quality.
Ceresâ&#x20AC;&#x2122; connection, integrated, harmonizing approach to living is certainly a sustainable characteristic which they are indeed very passionate about. It is imperative that we include notions of this in our design as sustainable living is one of the core values of Ceres.
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C.1.1.1. EXTERIOR COMPLEXITIES
REVIEW OF CHARACTERISTICS
DESIGN CONCEPT
OVERVIEW The surrounding structures and natural built form are of strong importance to the character and nature of the Ceres Environmental Park. In exploring the site, time, weather and erosion were great contributors to the textural qualities of the site. For example the texture of rocks eroded over many years from rain water attacking the surface, or the degradation impacting the corrugated iron surfaces. These all impact the character of the site, it creates a strong sense of genuinity and modesty of the environment. The unified degradation and erosion across multiple arrays of form leave a strong sense of unity across not only the built form, but also the environment. This strengthens the connection Ceres has with direct, non human environmental impacts. The overall sense of place comes from the immense sense of textual intensities throughout the site. Conveniently, this complexity is a feature noted throughout the various identified design characteristics I wish to embody in the following design task.
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AN EXAMPLE OF A TEXTURED CORRUGATED SURFACE FROM THE CERES ENVIRONMENTAL PARK. THIS IS A TYPICAL VISUAL COMPLEXITY WHICH IS COMMON THROUGHOUT THE STRUCTURES OF THE PARK.
Textural complexities can be generated through various methods of parametric design, particularly using pathways relating to patterning techniques which emphasize modifying the surface of materials. Methods such as panelling and image sampling can attest to creating this effect.
These all impact the character of the site, it creates a strong sense of genuinity and modesty of the environment.
THE ABOVE ARE A SET OF IMAGES SHOWCASING THE VARIETY OF TEXTURAL QUALITIES ON BOTH THE BUILT FORM OF CERES, AND ALSO THE ORGANIC FORM. A STRUCTURE WITH AN ORGANIC QUALITY OF TEXTURE COULD BE INFLUENCE VIA THE SEASONS THROUGHOUT THE YEAR. PERHAPS THE INFLUENCE OF COLD AND HOT WOULD EFFECT THE TEXTURES IMPACTED THE MATERIALS OF CONSTRUCTION.
Our group has already expressed a strong notion of an integrated design approach throughout the development stage, therefore structurally, we will be incorporating motifs of pattern and texture. I would imagine qualities such as this would be applied on the surface of materials to encourage the natural development of textures.
We aim to be working with almost exclusively recycled sources of timber. Therefore Textural qualities may have already developed over the lifetime of their use. The contrasting experiences and elements applied to the surface will indefinitely provide an array of textural qualities which will be suitable to the Central Habitat.
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C.1.1.2. C CULTURAL EXPRESSION+ INTEGRATION
REVIEW OF CHARACTERISTICS
DESIGN CONCEPT
OVERVIEW The site of the Cultural Village is certainly one which celebrates the culture of the native land, as well as integrating cultures of the expressed backgrounds showcased at the cultural village. I aimed to craft my pavilion in a way which pays homage to native Indigenous culture of Australia, taking inspiration from the Gunyah, an Indigenous dwelling. The site in itself is a showcase of diverse cultures. Integrating elements of this into the architecture of the site is something that I would expect to see carried forward in the development process to the final design.
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In considering the new site, being the sand pit, this is still a valuable theme to be addressed. Ceres Environmental Park as a whole is a highly forward thinking, progressive community. It is important to educate the future, the children of the community of these multicultural values and messages. People need to be open to multicultural integration. This is the future. The values of the Ceres park are all forward thinking therefore we need to work hard to reflect, prepare and educate people of the future.
Ceres Environmental Park as a whole is a highly forward thinking, progressive community. It is important to educate the future, the children of the community of these multicultural values and messages.
BATIK AND INDONESIAN ARCHITECTURE As well as the Global Village, the Central Habitat also follows trends which reflect cultural references. With Indonesia being our close neighbor, it is common for educational communities to focus our cultural explorations with our neighbor. The Bagonjong roof element is an iconic Javanese architectural feature commonly noted in significant buildings.
In addition to this, many of our precedent works also looked into cultural expressions from Indonesia to develop our design proposals, therefore we are well equipped to apply our knowledge towards the new design project. The predominant religions in Indonesia are Islam, followed by Christianity, Hinduism and Buddhism. Borobudur is a landmark within Indonesia and it is a temple dedicated to the Buddha.
It makes sense to look towards Indonesian culture, art and vernacular design in order to come up with a meaningful proposal for the Central Habitat.
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C.1.1.3. HARMONY WITH NATURE
C REVIEW OF CHARACTERISTICS DESIGN CONCEPT
OVERVIEW To complete the Ceres experience, I want to ensure that the development of the pavilion embodies all the core characteristics and values Ceres has to offer. This includes using environmentally friendly materials and building techniques to craft the pavilion. Though incorporation of this within the development, we further our chances in reflecting the founding values of Ceres and therefore help promote the vision of the park through architecture. Sustainable materials is highly necessary and almost critical requirement in order to reflect the character and culture developed within the environmental park.
YIN AND YANG A SYMBOL FOR POLARITY WITHIN CHINESE FENG SHUI. THIS REPRESENTS THE TWO SIDES TO LIFE, NATURE AND THE ELEMENTS OF FORCE. IT IS AN ICONIC SYMBOL WHICH REFLECTS HARMONY AND BALANCE.
BRAMBLE, C. (2007). ARCHITECTâ&#x20AC;&#x2122;S GUIDE TO FENG SHUI : EXPLODING THE MYTH. JORDAN HILL : TAYLOR AND FRANCIS, 2007.
As a group we should focus on sourcing available materials and then using what we have access to as a precedent before we generate and design our pavilion.
REACHING NATURE INTEGRATION Nature and the environment play an important role in our identification of form and space. Intuitively, vernacular architecture was a method of utilizing the materials and means available to produce living dwellings to enhance our ability to live and survive. Technological and cultural development saw a trend to migrate away from environmentally positive practices. However, the new surge of parametric design and greater knowledge and education around environmental issues have seen architecture dipole into a trend which hones back to familiar practices which reflect elements of vernacular architecture.
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Organic architecture was a term first penned by Frank Llloyd Wright in which he referred to Organic architecture as an integrated design approach which considered all aspects of the contextual space in architecture. You cannot design a building without placing a high importance and relevance to the site. This approach gave new light to a plethora of design outcomes which were highly influential in designers throughout the 20th Century.
ORGANIC ARCHITECTURE “A PHILOSOPHY OF ARCHITECTURAL DESIGN, EMERGING IN THE EARLY 20TH CENT., ASSERTING THAT IN STRUCTURE AND APPEARANCE A BUILDING SHOULD BE BASED ON ORGANIC FORMS AND SHOULD HARMONIZE WITH ITS NATURAL ENVIRONMENT.” DICTIONARY OF ARCHITECTURE AND CONSTRUCTION EDITED BY CYRIL M HARRIS, MCGRAW-HILL, 1975, PP. 340-341
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C.1.2. DESIGN CONCEPT
FEEDBACK FROM CLIENT
The Client Nick was highly impressed with work stemming from Merijn and Oliviaâ&#x20AC;&#x2122;s Part B proposals, the client; Nick, drew quite an attraction to their comparing concepts from Part B. As a group, we gladly responded to his given inputs and specification therefore we will now develop a new structure from this point. Nick has identified that the Shading system in the Sand pit of the Central Habitat is in dire need of replacement and development. Currently there is a simple sheeted shaded fabric which drapes across the pit providing little to no shading from wind, water and any other elements.
As the shading structure will be put in place for the sand pit, it will therefore be a structure which cannot encourage children climbing upon it. To relate to the nature, character and message that the Ceres Environmental Park is conveying, the structure must utilize recycled material. Examples of materials include framing timbers or discarded waste products. This will positively communicate the message of the Ceres Environmental Park to various visitors and regular participants in the community.
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C.1.3. DESIGN CONCEPT
PEER PRECEDENT 1.0
INDONESIAN AMPHITHEATRE Marijn’s canopy structure situated within the Global Village Amphitheatre carried great significance into the clients vision for the end product. Features of note from Merjin’s project was its innovative modular design which utilizes repetitive elements which are highly constructible, and relatively cheap in labour cost. It also hosts strong connections to the direct environment and integrates into the existing architecture well. Merjin had a goal to incorporate expressive, hand craft qualities to the structure. Following forward with my Identified characteristics I wish the canopy to embody, this is another element I believe we should carry forward. The structure is both constructible and deconstructible. Therefore it alines with Ceres’ values of buildings which do not fulfill the goal of lasting forever.
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C.1.3. DESIGN CONCEPT
PEER PRECEDENT 2.0
INDONESIAN AMPHITHEATRE The second precedent which the client drew a strong attraction to was that of Oliviaâ&#x20AC;&#x2122;s Structural representation of Mushroom like canopies which grow and twist to create the form. The main identified elements of Oliviaâ&#x20AC;&#x2122;s design were the exploration of structural form and creating a pattern with structure. The generated structure then underwent a process of optimization using the plugin Karamba. On account of the clients strict emphasis on the themes of biomimicry and structure. Olivia set out to identify a geometry which explores the human and environmental integrated relationship. There was also a notion of the built forms ephemeral qualities, and designing with an intent that the development is not going to last forever. As the Global Village hosts the Indonesian amphitheatre. Olivia focused on traditional Indonesian Batik Patterning techniques and imagery. Her overall concept culminated into a structure inspired by mushroom forms that grow from the landscape and intertwine to represent the integration of form.
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SITE AN
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NALYSIS
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The Central Habitat differs from that of the Global Village as it is more focused as a central hub within the Ceres complex. It is an area in which children can explore, learn and interact with the environmental qualities of the site. This includes interacting and observing the various inhabitants of the site, being birds, chickens and other various wildlife.
The Central Habitat is situated within an enclosed, sheltered space which is within the east central region of the complex. The enclosed nature of the habitat is on account of the elevated topography towards the north which beyond shows situates the Global Village. The site encourages social interaction though a variety of measures, for example; in hosting various tables for group congregation. The site certainly gives an impression of enclosure and community. It is a certain intimate quality which is worth noting. To take the focus towards the sandpit. The dexterity of the pit boundary may need some work, as there is not a clear boarder to where the sandpit ends and begins. We can modify and manipulate the fabric of the site to improve its current structure while pushing the quality further through the addition of our canopy/pavilion structure.
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C C.1.5. DESIGN CONCEPT
PEER DISCUSSION +CONCEPTS Through identifying the design criteria of the project we endeavour to create, the team then sort out various precedent parametric structures which we believed to be of merit to incorporate similar principles in our upcoming design project. Merjins project utilized repetitive elements to construct an elevated canopy using a post and span method. This therefore prompted research into similar uses of this
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technique, while also incorporating the ability to use organic architecture which represents unifies growing features from plants into architectural design. Repetitive elements makes for easy prototypes and rapid construction, however it may not be the cheapest option as it is quite a arduous process which involves a lot of assistance from fabrication machinery.
SEQUENCE. AN ARCHITECTURAL INSTALLATION IN BRUSSELS, BELGIUM BY ARNE QUINZE. QUINZE DESIGNED ‘SEQUENCE’ FOR THE FESTIVAL OF POLITICS AT THE FLEMISH PARLIAMENT. IT WAS PROJECTED TO REMAIN IN PLACE FOR AT LEAST 5 YEARS. QUINZE: “THE SEQUENCE BRIDGES THE COMMUNICATION GAP BETWEEN PEOPLE AND GENERATES MOVEMENT IN THE CITY. I WANT TO RECONNECT PEOPLE AND LET THEM INTERACT WITH EACH OTHER LIKE THEY DID IN THE PAST ON SQUARES. AT LEAST PEOPLE TALKED TO EACH OTHER THEN.”
Research into biomimicary and its influence in design was prompted by Olivia’s part B design proposal. The produced a literal response which reflected imagery of mushrooms. While we may not have to follow the analogy directly, we can certainly borrow the mushrooms effect of spanning and branding out from a single point. A canopy could be produced from single points using this method, which would certainly express notions of nature and biomimicary.
The development of our narrative will be an important notion to explore during the development of our project. We certainly have a united vision of what we believe the canopy should involve, delegation of specific task will follow our research fields however we endeavour to carry our work forward with a united and cyclic approach to the design process with continual critical conversation on what works and what needs work.
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THE DREAM HOUSE PROJECT. GREGOR KRAGER
YURE PAVILLION. KENGO KUMA & A
OUR GROUP WAS DRAWN TO THE MOTIFS AND DESIGN CHARACTERISTICS OF THIS BUILD FOR ITS INNOVATIVE REPETITIOUS EFFECT MADE FROM THE RECYCLED MATERIALITY OF THE TIMBER.
AGAIN WE SEE THE REPEATED NOTION OF MATERI COULD QUITE EASILY BE REPLICATED INTO A FORM
INSTINCTIVELY, THIS IS A PROJECT THAT WE SEE POTENTIAL TO FOLLOW. PARTICULARLY FOR ITS CYCLIC, REPETITIOUS ELEMENTS. HOWEVER, IN ORDER TO REMAIN SAFE FOR AN ENVIRONMENT FOR CHILDREN, THIS DOESNâ&#x20AC;&#x2122;T SEEM APPROPRIATE FOR THE FITTING BRIEF.
THROUGH VARIOUS PARAMETRIC EXPLORATION, HOWEVER LEFT IT AS PURELY A PRECEDENT S POTENTIAL.
IT IS CLEAR THAT THE MEMBERS UNDERWENT ENCOURAGE THE OUTCOME GEOMETRY.
Through research, we found that the reciprocal component and design strategy was one of which that depicted a clear rendition of what we deemed appropriate for that of the Ceres Environmental Park. Reciprocity, is a term which is based on elements supporting each other in unity and never at extremes. Therefore it represents clearly the emotive feature of harmony. This also simplifies the construction process as we do not need to design complex connection points for complex joints. The structure connects together with clear synergy and intuitive features. 114
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PEER DIS +CONC
ASSOCIATES
PARAMETRICISM. PHILIPPE BLOCK
IALITY IN A MORE STRATEGIC, LINEAR FORM. THIS M SUITABLE FOR OUR DESIGN.
THIS PRECEDENT EMBODIES THE REPETITIOUS EFFECT OF THE RECIPROCAL PATTERN. THE MEANING OF RECIPROCITY RELATES TO MEMBERS AND ELEMENTS UNITING TOGETHER IN AN EVEN SPREAD OF FORCE.
WE EXPLORED THIS AS A POTENTIAL OUTCOME STUDY TO GAIN AN INSIGHT TO OUR CREATIVE
WE BELIEVE THAT THIS IS A CHARACTERISTIC HIGHLY SUITABLE FOR THE CERES SITE. THE SIMPLICITY AND UNITY OF THE DESIGN MAKE FOR A EUPHORIC LIKE SENSATION FROM ARCHITECTURE. THIS IS LIKELY DUE TO THE PERFECT BALANCE AND PERFECT SYMMETRY OF ALL LOAD BARING ELEMENTS.
T EXTENSIVE MATHEMATICAL OPTIMISATION TO
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SCUSSION CEPTS
Not only did we identify the parametric pathway we would begin to explore, but research into biomimicary was also undertaken in which we aimed to uncover flora and fauna which best suits the case of the Ceres Environmental Park and what it involves. In addition, the structure it self of the recipriocal pavilion mimics that which reference elements off Olivias Mushroom biomimic structures which rise from the surface of the earth. This create tree structures which blend and unite with the existing landscape of Ceres. This also provides notions of environmentally aware, organic architecture. 115
C C.1.6. DESIGN CONCEPT
PROPOSED CONCEPT
Through conversation and study from the brief, our team has come to a decision on our final concept to produce at the Ceres Environmental Parkâ&#x20AC;&#x2122;s Central Habitiat. The concept is a singular truck like geometry, surrounded by a bench seat. The overall structure emulates a natural branch system which extends out to create a flat roof profile with curved edges to enhance the geometry of the canopy. The Specific geometry will undergo sun diagramming after rough estimation from our conceptual sketch. Above all we want to ensure that we use environmentally friendly building standards and procedures. The client; Nick, is adamant that we use recycled materials, we are basing our availability from recycled door frames and post as they are a fixed unit which we can adapt and sculpt to suit our needs.
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Sustainable materials is highly necessary to reflect the character and culture developed within the environmental park. Therefore we will be identifying what our options are, very early on in the development process. To educate visitors and regular caretakers of the Environmental park, we will source our inspiration from traditional Indonesian patterning techniques. Our precedent exploration made us identify some techniques and visual aspects we expect to use within our design. The narrative of our piece is also at the upmost of our priorities. We will continue to develop this throughout the design process to strengthen our proposal.
The concept is a singular truck like geometry, surrounded by a bench seat. The overall structure emulates a natural branch system which extends out to create a flat roof profile with curved edges to enhance the geometry of the canopy.
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DESIGN PROCESS
TECTONIC ELEMENTS +DEVELOPMENT
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AGENDA OF DEVELOPMENT
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Geometry + Form finding
Patterning + Iterations
Our overall geometry was identified through a quick sketch in the conceptual stage. However we certainly wanted to experiment and conjure a meaningful form which was optimized to best suit the circumstances of the chosen site.
Once the overall geometry was optimized to provide adequate and appropriate shading, we then began iterating the various patterns which we believed to be suitable for the canopy.
The Process involved undertaking a sun shading analysis across a variety of generated geometry.
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Our group was drawn towards that of the reciprocal structure and how its qualities proved to be highly buildable, but also reflected strong notions from the brief and our own design preferences.
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Structure + Optimization
Prototyping + Material Testing
The various structural patterns underwent a Karamba structural optimization script which aimed to identify the more suitable design options.
Iterations of prototypes and material tests helped our group identify not only suitable connection points, but also was a powerful tool to encourage different form finding and patterning techniques.
The reciprocal nature of our iterations made for a difficult optimization process through Karamba however, looking at the overall geometry, we approximated an appropriate fit which we believe to be suitable for the reciprocal development.
In order for us to build a pavilion with meaningful geometry, it is imperative that it is actually possible to build. Our Prototyping was a major assistant in our qualifying criteria.
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C.2.1.1 DESIGN PROCESS
GEOMETRY + FORM FINDING
Geometry + Form finding Our form was roughly estimated and uncovered through a rough sketch during the coneptical stage. From that vision, we wanted to produce not only a geometry which provides an inspiring, creative form. But also a form which functions well, and provides a suitable amenity to the Central Habitat Sandpit. Above all, the function of this is to provide shading for children as they explore and learn within the sandpit. However there is a whole host of other submissive functions that may come into play, for example an opportunity to further represent the values of Ceres through form and educate people of the values in reciprocity.
Sun Analysis Diagram Above is a view of the sun analysis Diagram viewed from Rhinoâ&#x20AC;&#x2122;s viewport. The sun diagramming was tested over a host of geometry and at different times of the day.
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Most Shading Potential This iterations proved to provide the greatest shading potential however the design is unfeasible as the radius of geometry will end up being 5 metres at its longest point. Which structurally will cause some issues. Chosen Geometry This is the iteration we identified to be the most successful in providing optimum shading. It also is among the few which allows for adequate structural stability as seen through structural analysis tests.
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PATTERN ITERAT
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Patterning + Iterations The exploration of pattern sent our group into various areas of analysis which explored panelling and structural uses for pattern. Our group grew a strong attraction to the reciprocal structure for several of its qualities. Firstly, its expressive and meaningful appearance. All elements binding together presents a significant emphasis on symmetry and unified tectonics. It is culturally significant and visible throughout history as an element of harmony, particularly in Japanese culture. 124
Our criteria in identifying the most appropriate design focused on several options. 1. Meaningfulness and expression of pattern 2. Structural integrity The possibility of the canopy becoming structurally feasible 3. Shading potential The Canopyâ&#x20AC;&#x2122;s ability to provide shade as tested through our sun path diagram. 4. Ability to assist in the growth of Organic Architecture
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GN PROCESS
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The process of developing structural pattern involved producing an estimation of the given geometry and rebuilding its shape to develop a mesh. The mesh was then converted into a script which was compatible with the reciprocal component.
In addition to the reciprocal pattern, an idea arose to include a panelling system in tandem with the reciprocal structure. This would benefit the shading potential while also providing greater patterning capabilities.
The iterations of the reciprocal structure generally related to the rotation of the reciprocal plane. This meant that adapting the pattern was limiting in creative potential.
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C 2.1.2
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PANELLING The tesselation of the overlaying mesh structure was the basis of which we wanted to apply the panelling to the canopy. This provides an alternative pattern to the existing reciprocal shape. Patterning can also be applied further to the surface of each panel with very suitable methods which are highly constructible through laser cutting methods. However, in consultation with the group, we decided that the overall, outstanding feature of the design would be the reciprocal qualities, therefor in overlaying an alternative pattern, it may take away from the main feature of the structural pattern.
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C 2.1.2
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Artistic rendering of given design proposal with included tesselated shading panels. This concept was discontinued due to its panelling taking away from the emphasis of reciprocity.
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C 2.1.2 REACHING RECIPROCITY The tesselation of the overlaying mesh structure was the basis of which we wanted to apply the panelling to the canopy. This provides an alternative pattern to the existing reciprocal shape. Patterning can also be applied further to the surface of each panel with very suitable methods which are highly constructible through laser cutting methods. However, in consultation with the group, we decided that the overall, outstanding feature of the design would be the reciprocal qualities, therefor in overlaying an alternative pattern, it may take away from the main feature of the structural pattern. The brief does require us to incorporate recycled measures, therefore it is important that the materials are easily sourced and readily available for use as repetitive elements. The beams within the reciprocal structure can be easily sourced and adapted from second hand use timber. The recycled quality of material may even add effect to the development. Utilizing the reciprocal structure grants us greater flexibility within our design. It is a simple configuration and it can be readily adapted to suit the given materials that fall into our possession.
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LUNCHBOX TESSELLATION This geometry formed a potion of the original mesh from the geometry. Early concepts of the structure explored tesselation methods through the use of the lunchbox plugin. Above are two examples of Tesselated geometry which create a web like formation. To Fabricate a structure such as this, we would likely require laser cutting individual panels and assembling the flat portions while prototyping connection points between each pane. While this creates a highly evocative visual display, it unfortunately lacks structural integrity, therefore would require further members to insure its structural feasibility.
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C C.2.1.3 DESIGN PROCESS
STRUCTURE + OPTIMISATION
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ALTERATIONS OF THE DENSITY/NUMBER OF BEAMS WITHIN THE STRUCTURE
3 Structure + Optimization Optimizing the reciprocal structure through Karambra proved to be a difficult task to complete, however we produced a series of visualization which explore the structural loads within the given geometry. We applied the structural explorations to not only our reciprocal shapes but also toward the tesselated geometry from the exploded mesh. Through utilizing Karamba, we identified various aspects of the iterations which should be given merit therefore finding a compromise into which the iteration which found to be more suitable.
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2.1 STRESS ANALYSIS DISPLACEMENT
DISTANCE DISPLACEMENT FROM BLUE TO RED
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1.3 UTILISATION AND AXIAL STRESS Utilisation and Axial Stress Within Karamba, the Utilization and Axial Stress options identify the stresses beams undergo when subjected to various forces. Utilisation expresses a percentage of the maximum stress capacity of the material properties. This is a unique feature which is certainly a qualitative recommendation on the satisfactory safety requirements of a structure. A Utilisation number exceeding 100% will result in a break of material, given the specific load. Our visualization represents the loads experienced from our canopy Leaving white as the members experiencing the least stress, and red beams experiencing a high compressive stress, on the contrary, blue experiencing significant tension stress. The aim is to minimize displacement throughout the model. This will therefore improve the structural performance of the canopy.
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C.2.1.4 DESIG
PROTOT MATERIAL
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YPING + L TESTING
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C C.2.1.4 SKETCH PROTOTYPES 1. 2. 3. 4.
Multi directional sectioning Trunk Structural + Canopy Lateral Biscuit Joint Canopy Lateral Biscuit Joint Butt Joint Branching Habit
The models towards the left are sketch models we used to approximate joining methods as well as provide examples of Form Finding. Constructed with a combination of cardboard, balsa wood and glue, the purpose of these iterations was to explore alternative means to generate form; with a consise attempt which focused on the joining methods at the mircoscale. Through this method, we discovered an important feature of form which we aim to carry foward, this is that of the seat in figure 2.b.
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C JOINT PROTOTYPES The following prototypes are in response to the reciprocal intersections of the canopy. It will be important to select a joint which is cheap, constructible with minimal labour skills and with a quick construction time.
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3. Screws The rigidity of screws proves to be a successful prototype. Each screw would be set in place within seconds to allow for a very rapid construction time.
Notches An interception method without any extra material use. While it would include little to no cost, it would provide very litle rigidity and it requires quite a high labour cost physically. For us to use this method, it would be best combining it along side another joint type.
2. Rope The rope provides a highly expressive feature to the joints. It would require additional bracing measures such as nut and bolt to further secure the objects together. The cost is relatively quite cheap and would likely be a polypropylene rope to help protect against UV Radiation. Labour wise the connection is quite simple and it would provide secondary lateral support to screws in place.
The only potential negative is the aesthetic feature of screws going into wood. This takes away from the eco friendly aesthetic we are envisioning. 4. Dowel Through using dowel joining methods, we successfully achieve the aesthetic we set out to depict. However the skill and labour intensity required to fix in multiple dowel joints may prove to be difficult on a major scale construction. 5. Nut + Bolt The Nut and Bolt provide a highly rigid solution to the canopy. The labour required is minimal in comparison to other solutions. The only danger is the screws potentially catching onto passing children. Some risk management will need to be explored.
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C C.2.2 DESIGN PROCESS
ORGANIC ARCHITECTURE
PLANT SELECTION
In the selection of plant material, we looked first toward the natural growing plant of the region which would survive and fit suitably within the Ceres landscape. We also identified plants which would readily grasp onto constructed material to then grow and integrate within the architecture.
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3. AUGUSTA KENNEDIA The Augusta Kennedia was a plant which we were instantly attracted to on account of its beautiful orange flowers. Much like the Lilac, The Kennedia requires low labour upkeep and provides excellent shading cover. A significant feature which set this apart from the others was its bird attraction capabilities. While this could be considered a con, Nick the client specifically mention that Ceres is a place to experience and integrate with animals within our environment, therefore we attest this as a positive feature.
BOUGAINVILLEA The Bougainvillea is a plant which is continuously green and tends to flower in early Authumn and late Spring. It can survive in relatively cold temperatures and it hosts a fast grown rate. It has great screening potential. The cons which are included in the Bougainvillea are its spiny/thorny stems which may not be suitable in an environment for children. It is also quite an exotic plant which may not necessarily be appropriate for the Environmental park.
2. NATIVE LILAC The Native Lilac is a strong, low maintenance plant which is native to the region. It is commonly used for similar shading/screening solutions and it hosts a fast growth rate. The sourcing and availability were made tough, therefore we decided to continue searching for an appropriate solution.
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C C.3.0.
FINAL DESIGN BAJEERANG
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C B A JE E R A N G - ME A NING ‘ T RE E ’ IN T HE L A NGUAGE O F T HE W U RUN JE RI PEO PL E - T HE O RIGIN A L OW NE RS O F T HE L A ND S UP O N W HICH O U R S T RU CT U RE S TA ND S - O U R BR A NCHING T RE E - L IK E S T RU CT U RE RE PRE S E N TS T HE UNIS O N O F A NIM A L S A ND HUM A NS C O MING TO GE T HE R FO R PROT ECT IO N A ND H A BI TAT UND E R O NE S T RU CT U RE . T HE PAV IL L IO N IS N OT O NLY T HEO RE T IC A L LY RECIPRO C A L BU T A L S O S T RU CT U R A L LY, U SING 14 3 T IMBE R ME MBE RS R A NGING F RO M 0.7- 3 .0 M. U SING NU TS A ND B O LT C O NNECT IO NS TO S ECU RE T HE M E ACH PIECE O F T HE S T RU CT U RE IS IN T EGR A L A S T HE Y RE S T UP O N E ACH OT HE R IN A SY MBIOT IC RE L AT IO NS HIP. I T IS B OT H A FIGU R AT I V E A ND L I T E R A L RECIPRO C A L S T RU CT U RE T H AT IS HIGHLY F UNCT IO N A L , E N V IRO NME N TA L LY C O NS CIO U S , T H O RO UGHLY C O NSID E R AT E O F I TS C O N T E X T A ND U S E R A ND H A S A D E E P C O NNECT IO N WI T H T HE VA LUE S O F CE RE S .
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C C.3.0. FINAL MODEL AND PROPOSAL THE GROUPS MODELS INCLUDED A VISUALISATION MODEL WHICH INVOLVED ELEMENTS OF THE SITES TECHTONICS AT AN APPROXIMATE SCALE OF 1:20. THE PURPOSE OF THIS MODEL WAS NOT TO BE A TECHNICAL DEMONSTRATION OF THE CONSTRUCTION PROCESS, BUT MORE AS A VISUAL REPRESENTATION OF WHAT A COMPLETE STRUCTURE WOULD LOOK LIKE ON THE SITE. IT ALSO PROVIDES AN ACCURATE DEPICTION ON HOW THE EXPERIENCE REACTS TO THE SHADOWS PROJECTED ONTO THE SITE. IN ADDITION TO THIS, WE INCLUDED A 1:1 SCALE JOINT AND A SERIES OF JOINT PROTOTYPES AT VARIOUS SCALES. ONCE VIEWING THE FINISHED PRODUCT IN A PHYSICAL MODEL, YOU CAN TRULY GAIN A SENSE OF INTEGRATION WITH THE CHARACTERISTICS OF THE SITE AND THE VALUES OF CERES.
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C C.4. LEARNING OUTCOME
C.4. LEARNING OUTCOME
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From further analysis and discussion from the Part B design proposal. I entered this next project with a greater appreciation of the design process and with a new found confidence in parametric design.
This is however a very critical acclaim, otherwise the project made for a highly productive and successful group effort.
While I do tend to lean on my concepts for their strength, I still believe my abilities in computation could be given more development, I am therefore inspired to continue with my algorithmic exploration into the future. The concepts that were visible in my original design are without doubt carried forward through into the group stage and given greater thought and traction. The concepts have developed into something much more defined which is credit to the explorations made in C1.
C2 The development stage was managed with a integrated approach. We would consistently adapt and change design concepts which would involve going back to the geometry stages or patterning stages. Given the end result, it appears that the process was relatively successful however through clearer communication and delegation of roles, I believe the process could have been more clean and clear.
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In the patterning stage, we were quite restricted in our ability to modify and generate a diverse range of design options through the reciprocal structure component, we did create a range of alternatives which were not given tracking due to them migrating away from the notion of reciprocity. Which is a fair claim and we most certainly ended up with a more meaningful design solution through the methods we asserted.
C3 The final design model and presentation was simply a process of collating our work into a proposal which identified the most valuable criteria within our design process and design thinking. From the various design projects I have taken part of, this is one of the few which I am highly confident of our ability to travel out to Ceres and produce a highly authentic representation of our geometry that would be structurally successful and portray the canopy as we envisioned it.
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